Death of A Dispatcher S
by Rhea's Teleplays
Summary: Capri the Dispatcher was a thorn in all the EMS and CSI sides, constantly giving wrong directions. When she is rehired, someone decides to stop her, and the CSI find themselves prime suspects.
1. Teaser

CSI: CRIME SCENE INVESTIGATION

"Death of a Dispatcher"

TEASER

FADE IN:

EXT. LAS VEGAS (STOCK) - NIGHT

To establish. The sun is almost gone on the western horizon.

EXT. SUNSET VIEW APARTMENTS - NIGHT

**CATHERINE** navigates her vehicle through Lookie Lous, around an ambulance and police cars. She stops next to the coroner vehicle.

She gets out and walks to the back, hauling open the back door. She checks her kit and turns, running into Officer **GRENSKE**.

GRENSKE  
You can't be here.

She's surprised, but not about to take any lip from the officer.

CATHERINE  
I was called here, so--

GRENSKE  
Catherine, _you_ can't be here. My  
partner's calling for another CSI

CATHERINE  
Who is the victim, Rich?

GRENSKE  
Capri.

CATHERINE  
Capri? Who?

Grenske doesn't answer; he's expecting her to know.

GRENSKE  
Go back to the lab. I.A. is sending  
a rep to talk to you.

Catherine realizes who he's talking about. She has to see this with her own eyes.

She dodges Grenske and dashes toward the open apartment door. She pushes through the crowd of officers and two paramedics. Officers turn as she rushes by, but she is past before they realize she can't be there.

INT. APARTMENT 152 - NIGHT

Catherine runs through the rooms until she comes to the bedroom.

Capri Martinez lies on the floor, her dead eyes staring at Catherine's shoes. Blood has soaked the back of her shirt and jeans.

Clear tubing is stretched around her neck too tight to be thought of anything but a murder weapon. The room is a mess from a struggle.

Grenske appears in the door behind Catherine.

GRENSKE  
Catherine, you can't be here.

Catherine doesn't move. He lays his hands on her shoulders and pulls her away, guiding her back out.

EXT. SUNSET VIEW APARTMENTS - NIGHT

Catherine suddenly pulls away from Grenske and storms to her vehicle. She slams her kit onto the floor of the back and then leans in. Grenske comes around the door.

GRENSKE  
Are you okay?

Catherine nods. Her phone starts ringing. She fumbles for it and answers.

CATHERINE  
Willows.

ECKLIE (ON PHONE)  
What is going on? I just received  
calls from Gary at dispatch saying  
you were being sent back, and to  
call Nick and Greg back, and that  
I.A. is sending a rep. He said it  
had to do with your call.

Catherine turns, shooing Grenske off. As soon as he's out of earshot, she lets her worry out.

CATHERINE  
It's Capri, Conrad. She's been murdered.

ECKLIE (ON PHONE)  
The dispatcher that nearly got you  
and Greg killed?

CATHERINE  
Yeah.

ECKLIE (ON PHONE)  
Get back here now.

The phone disconnects. Catherine slams the back door shut and walks around to the driver's side.

**INT. CSI VEHICLE - NIGHT (RE-ENACTMENT)**

**She gets in and starts it. She reaches out to drop her phone in the middle console but misses, dropping it on the passenger seat. She looks down at it, caught up in a memory...**

**EXT. MOJAVE DESERT - NIGHT (RE-ENACTMENT)**

**The CSI vehicle jumps and hops, bouncing down a road that looks more like a wagon trail. The vehicle is somewhere between no man's land and Hell's half acre. **

**I/E. CSI VEHICLE - NIGHT (RE-ENACTMENT)**

**SUPER: November 6, 4:20 AM**

**Catherine is focused on the land ahead of her. She is driving faster than she should down a road in this condition. **

**Next to her, GREG has one hand wrapped around the handle over the door, and the other grips the side of his seat, and one foot is pressed against the center console. **

**If he weren't bracing himself, he'd be bounced all over like Catherine is. **

**GREG  
You, uhm... Might want to slow  
down, Catherine.**

**She starts muttering curses about "Capri" and the many ways she plans on killing her. Greg glances at her.**

**The road suddenly veers left and up. She gives it a little more gas and they head up the rutted, washboard road. Abruptly they come to a crossroads, according to the state. **

**There's a bent road sign, but it is an old sign colored brown with parts of white lettering. Something has run into it and it's bent over, indicating Road 92 is somewhere among the stars. **

**Catherine smashes the brake pedal, making the vehicle skid to a stop. In all directions, ghosts of roads disappear into the night. She looks at Greg.**

**CATHERINE  
Well?**

**GREG  
Well what?**

**CATHERINE  
Which way?**

**GREG  
Now you want my opinion?**

**She ignores his sarcasm. Catherine pulls a sheet of paper from her pocket, reading it.**

**CATHERINE  
We were supposed to turn at road  
89, go down to road 74, turn left,  
and then right on road 92. Did you  
see a road 74? And here's a sign  
for 92.**

**GREG  
Catherine, Capri got off work a  
while ago. Let's go back to where  
we had radio service, and get  
directions again.**

**CATHERINE  
The radio battery went dead three  
hours ago.**

**GREG  
Then cell service.**

**CATHERINE  
We haven't had cell service for  
four hours. Which way?**

**GREG  
(impatient)  
Then let's go back to a farmhouse,  
explain that we're really lost, and  
use a phone!**

**CATHERINE  
Forward it is.**

**GREG  
Oh my God! You are the worst!**

**CATHERINE  
Excuse me?**

**GREG  
You are a man trapped in a woman's body.**

**CATHERINE  
What?**

**GREG  
You refuse to stop for directions.**

**The vehicle jumps as it hit a large, jutting rock and slides off. Greg gets a tighter grip on the handle.**

**GREG (CONT'D)  
This is a bad, bad, bad idea.**

**CATHERINE  
You're a woman trapped in a man's  
body. You won't stop whining!**

**GREG  
We are lost! I said we were lost  
when there were still telephone  
poles  
and cars passing us. That's not  
whining. That's pointing out that--**

**The vehicle hops into the air and comes down hard. Metal groans and crunches. There's a strange whine, followed by metal scraping hard against something. Then the vehicle plows forward.**

**GREG (CONT'D)  
SLOW DOWN!**

**The road suddenly smoothes out.**

**CATHERINE  
Better?**

**Greg sniffs. He leans forward, pressing his forehead against the windshield. Smoke is coming out of the grill.**

**GREG  
There's smoke coming from under the hood.**

**All the dash lights start coming on. The engine begins knocking, there are several strange sounds, and then the vehicle dies. **

**Catherine tries several times to start it. The lights begin to flicker and grow dimmer with each attempt. She stops trying when she smacks her hand against the steering wheel.**

**GREG (CONT'D)  
You broke the vehicle, Catherine.**

**The headlights and interior lights FADE OUT. Out here, with only starlight, a person can barely see their hand in front of their face. The tick of the cooling engine, their breathing, and the soft rustle of clothing are the only sounds.**

**CATHERINE  
I'm going to kill Capri.**

**GREG  
This isn't her fault. You--**

**CATHERINE  
I am going to **_**kill**_** Capri.**

**GREG  
Catherine, she--**

**CATHERINE  
I'm going to shoot you if you don't shut up.**

**Silence.**

SMASH CUT:

OPENING CREDITS.

FADE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

EXT. LAS VEGAS (STOCK) - NIGHT

To establish.

EXT. CSI - CORRIDOR - NIGHT

CATHERINE charges down the hall toward **ECKLIE** and Internal Affairs representative **JACKIE**. Jackie has been drug out of bed for this and has made a half an attempt to look professional. She's making her way through her second latte.

CATHERINE  
My CSI had nothing to do with Capri  
Martinez's murder. Why are you  
questioning us?

Jackie acts as though she doesn't feel Catherine's anger. She is an investigator like Catherine and she is out for the truth no matter who it destroys. She pays close attention to everything he says, and doesn't say.

ECKLIE  
You three have a history with  
Capri, which makes you suspects  
until I.A. clears you.

CATHERINE  
You know as well as I do, Conrad,  
that Nick, Greg and I had nothing  
to do with this! Especially Greg.  
Why is he being questioned?

JACKIE  
Why are you so certain CSI Sanders  
didn't murder her?

Catherine avoids the question.

CATHERINE  
You know we didn't do this, Conrad!

JACKIE  
Catherine, I'm not interviewing  
just you three. I'm interviewing  
everyone who held a grudge against  
Capri Martinez. In the meantime, I've  
agreed to allow your other CSI to  
remain on the case. But if there's  
going to be a problem, I can assign  
other CSI to it. What do you prefer?

Catherine curbs her anger and doesn't answer. She has the sense to realize Langston and Riley can help them if they remain on the case.

JACKIE (CONT'D)  
Wait outside interview room A with  
CSI stokes and Sanders. I'll call  
you when I'm ready for you.

Catherine leaves. She glances back to make sure they aren't watching and then turns into the Chem Lab, surprising **HENRY** Andrews.

CATHERINE  
Give me a piece of paper and a pen.

Henry hands her a notepad and pen. She scribbles a note, folds it, and hands it to Henry.

CATHERINE (CONT'D)  
When I go into the interview  
with the I.A. Rep, take this to  
Greg. Then take this to Ray  
with Greg's answers. Understand?

HENRY  
What is it for?

CATHERINE  
It might help exonerate Greg.  
Will you do this?

Catherine glances back, seeing Jackie headed her way. Henry glances back at Jackie. Henry snags the note and slips it under a folder.

Catherine smiles, patting his shoulder. She leaves, catching Jackie's eye. Jackie slows, turning into the chem lab. Henry turns, pretending he hasn't seen her. She walks up behind him.

JACKIE  
Excuse me.

He turns.

JACKIE (CONT'D)  
You were just speaking with your  
supervisor. What was it regarding?

HENRY  
It was a personal matter.

JACKIE  
What was it regarding?

HENRY  
I'd rather not talk about it with you.

JACKIE  
Unless you answer the  
question, I'll charge you  
with attempt to impede an investigation.

Henry stares at her. He lets out a forlorn sigh.

HENRY  
I wanted to make sure she got  
my time off request for my  
colonoscopy next week. Thanks  
for making me share that with  
a complete stranger!

Henry turns his back on her and pretends to be angry. Jackie isn't sure what to of this. She turns on her heel and quickly leaves. Henry waits until she's gone to smile about his evil plan gone well.

**INT. CSI - BREAK ROOM - NIGHT (RE-ENACTMENT)**

**SUPER: November 5, 11:45 PM**

**Catherine, Greg, RILEY, and NICK are sitting around the table, waiting for assignments. They all look at GRISSOM when he comes in shuffling through calls.**

**GRISSOM  
Assignments.**

**He passes them out, handing two to Nick. He doesn't notice Greg, Catherine, and Riley snicker. Nick is not happy with his two calls.**

**NICK  
Why are these addresses on the same street?**

**GRISSOM  
Likelihood they're related, Nicky.  
I have to have the reviews in  
tomorrow, so I won't be available  
unless it's an emergency.**

**Catherine walks over to the coffee machine and pours himself a cup. He turns to find the four snickering at him.**

**GRISSOM  
What?**

**CATHERINE (CONT'D)  
You slept at your desk again,  
didn't you?**

**Catherine doesn't answer her. Greg taps his forehead.**

**GREG  
You shouldn't forget to call Sheila  
about the requisition form you  
submitted.**

**Catherine pulls the sticky note off his forehead. He heads for the door, ignoring their giggles. In the hall an officer stops him, handing him yet another call. **

**He reads it, and returns to the break room. He plucks the calls from Catherine and Greg's hands, and hands one each to Nick and Riley. He hands over the new one to Catherine and Greg.**

**NICK  
I have to do three?**

**GREG  
Whiner.**

**NICK  
I am not whining! I don't know  
where this address is, I'm not sure  
how to get around the construction  
to get to these two, and I am not  
looking forward to relying on some  
dimwits bass ackwards directions.**

**RILEY  
That's whining.**

**NICK  
Shut up!**

**Nick gets up, knocking over his chair. He storms out, muttering curses and obscenities under his breath. They all watch him disappear down the hall. Grissom turns back to the three.**

**GRISSOM  
What's wrong with him?**

**RILEY  
On his first call tonight, our  
favorite dispatcher sent him to an  
imaginary crime scene at an imaginary  
address with imaginary stiffs.**

**Catherine looks up at Grissom, bats her eyes and dramatizes a whiny, manipulative teenager.**

**CATHERINE  
Doctor Grissom, I'm giving you the  
address from the static map. How  
was I supposed to know that was a  
dead end road? There's construction  
all over town! Doctor Grissom,  
Gary said that address was right.  
Gary said. Doctor Grissom, your  
CSI are being rude and mean. Doctor Grissom...**

**Grissom and Greg aren't amused, but Riley and Catherine are in stitches.**

**GRISSOM  
Capri has only been on the job for  
three weeks. She's getting better.**

**CATHERINE (CONT'D)  
Better? I think it's possible she's  
gotten worse. Maybe if everyone  
didn't let her off because of her  
double D's, she might figure out  
how to do her job.**

**GREG  
Capri's nice and she's really  
trying to improve.**

**RILEY  
I was fooled by her first impression  
too, until I found myself in Henderson  
and my call was in Paradise.**

**GRISSOM  
You should have known better.**

**Grissom leaves. **

**GREG  
You should give her a couple more  
weeks, at least. She'll get better.  
I made mistakes my first couple months.  
Remember the luminal incident  
Catherine? So we should all--**

**RILEY  
Greg, are you dating Capri?**

**GREG  
No.**

**He stands up, picks up his coat and heads for the door. Catherine follows him out, leaving Riley alone with her coffee and two call sheets.**

EXT. SUNSET VIEW APARTMENTS - NIGHT

The crowd hasn't reduced. Police guard the door of apartment 152.

INT. APARTMENT 152 - BEDROOM - NIGHT

CSI **RILEY** Adams is processing the bedroom. Assistant coroner **DAVID** is examining the body. She glances at him when he gently lifts the victim's head to examine the tubing.

RILEY  
Hold it, David.

She snatches up her camera and snaps off a few pictures. He looks over the tubing, and then pulls it away from Capri's neck.

RILEY (CONT'D)  
I doubt anyone will mourn her death.

David slowly looks up at her. It's unlike David to glare, but what she's just said hit the wrong nerve.

DAVID  
Actually, there is someone who is  
going to be devastated when he finds  
out she's dead, Riley. Just because  
you didn't like her, doesn't mean  
you have to be so heartless. I have  
to go get a gurney.

He's out of the room before she can apologize for her insincere remark. She goes back to examining the room.

David comes in and they don't speak while he moves the corpse onto the gurney and leaves. As he goes out the door, she spots something.

**CSI POV**

**There is a bloody half thumbprint that's been lightly smeared. **

**BACK TO SCENE**

Riley snaps off photographs and lifts it. She notices something behind the dresser and crouches down to retrieve it.

It's a photograph of Greg. He's been caught pretending to serenade a broom and is waving the photographer off as he laughs. She sets it back where she found it, and continues searching the room.

**I/E. CSI VEHICLE - NIGHT (RE-ENACTMENT)**

**SUPER: November 6, 12:30 AM**

**Catherine drives down a dark paved road. She has the call sheet pinned to the steering wheel with her thumb, referring to it as she drives. **

**Greg sits in the passenger seat munching an energy bar and sipping from a travel coffee mug. She slows as a road sign comes into sight. She glances at the call sheet.**

**CATHERINE  
Get a road map out. I have no idea  
where this is.**

**Greg sets his meal in the middle console and digs a map out of the door pocket. He turns on the map light and starts looking.**

**GREG  
Let me see the address.**

**She hands over the call sheet. He looks again.**

**GREG (CONT'D)  
It's not on here.**

**CATHERINE  
It has to be.**

**He looks again.**

**GREG  
Not on here, but this is a state  
map. It doesn't have all the roads.**

**CATHERINE  
Try the county map.**

**Greg searches the pocket, then the glove box.**

**GREG  
No county map.**

**CATHERINE  
Maybe it's in the back.**

**Greg unbuckles and starts to climb into the back.**

**CATHERINE (CONT'D)  
Greg.**

**He stops, looking at her. She glances at him.**

**CATHERINE (CONT'D)  
Are you sure you're old enough to  
drink? You do not climb into the  
back in a moving vehicle.**

**He plants his butt back in the seat with a sheepish grin, which makes her smile. She pulls onto the shoulder. Greg gets out and runs to the back. **

**She hears him rummage through the back. He closes the back, and climbs into the back seat and searches. He turns and sits down on the middle bench seat.**

**GREG  
(boyish shrug)  
No county map.**

**She chuckles, and picks up her radio.**

**CATHERINE  
Oh Nicky, Nicky, Nicky.**

**GREG  
What?**

**CATHERINE  
I only have a quarter battery left.  
Nick promised to put it on the charger  
for me this morning. But that's not  
the worst of it, Greggo. Capri is  
working tonight.**

**GREG  
Call into dispatch. She doesn't  
answer the phones.**

**She pulls her cell phone off her belt. She has no signal.**

**CATHERINE  
Do you have any signal?**

**Greg checks his cell phone.**

**GREG  
Nope. We are in a **_**dead zone**_**. Apparently  
our carrier doesn't have a few  
thousand people to follow us around  
and make sure we have service.**

**CATHERINE  
Are you sure that's only coffee in that cup?**

**GREG  
It's apple juice. It's too warm for  
coffee. Although, DJ Alfie said  
it's supposed to drop to the low  
thirties after midnight, but no  
snow. I love winter in the desert.  
It's so extreme.**

**CATHERINE  
Was that your five-second weather update?**

**GREG  
Yep!**

**Greg gets back into the passenger seat.**

**CATHERINE  
I'm going to try my luck with  
Capri. Maybe tonight she can  
actually read a map.  
(keys radio)  
Willows to dispatch.**

**After a few seconds, CAPRI'S warm, sexy voice responds.**

**CAPRI ****(ON RADIO)  
****Dispatch. Go ahead.**

**CATHERINE  
We need directions to our crime scene.**

**CAPRI (ON RADIO)  
Give me the address.**

**CATHERINE  
Address following. 34452 County  
Road 92. Crossroads are not given.  
Further details, sixty miles  
northwest of Las Vegas municipal.**

**CAPRI (ON RADIO)  
Stand by.**

**Catherine lowers the radio while she waits.**

**GREG  
She's worked her way up from hold  
please to stand by!**

**CATHERINE  
I thought you liked her.**

**Before he can answer...**

**CAPRI (ON RADIO)  
Directions to follow.**

**Catherine turns over the call sheet, grabs a pen, and keys the radio.**

**CATHERINE  
Go for directions.**

**Catherine drops the radio as Capri rattles off the directions. It's a long set of directions. Catherine stares at the set when Capri stops talking. She picks up the radio, keying it.**

**CATHERINE (CONT'D)  
These don't look correct. These  
directions take us southwest not  
northwest. Have you confirmed these  
directions? **

**CAPRI (ON RADIO)  
Directions have been confirmed.**

**CATHERINE  
By who?**

**CAPRI (ON RADIO)  
The address has been confirmed.  
Dispatcher 324 out.**

**CATHERINE  
I want to know who confirmed these directions.**

**Capri doesn't respond.**

**CATHERINE (CONT'D)  
Dispatcher 324, who confirmed these directions?**

**Capri doesn't answer.**

**CATHERINE (CONT'D)  
Willows to dispatch.**

**No answer.**

**CATHERINE (CONT'D)  
Dispatcher 324, answer me!**

**She doesn't obey. Catherine tosses the radio on the dash, slams it into gear and squeals tires as she drives away.**

**GREG  
Do you want me to try?**

**CATHERINE  
No!**

**Greg starts eating again. Catherine's anger past as fast as it had come on. She glances at Greg.**

**CATHERINE (CONT'D)  
Sorry I snapped at you.**

**He shrugs.**

**GREG  
Even I thought that was pretty rude.**

**Catherine smiles and leaves him to his skimpy supper.**

INT. CSI - CORRIDOR - NIGHT

Nick and Greg sit in chairs outside of Interview Room 'A.' Nick is too angry to notice Greg is broken hearted.

NICK  
I always knew that girl was going  
to get herself in trouble, but I  
never thought she'd take us down  
with her.

Greg doesn't reply. Nick glances at him.

NICK (CONT'D)  
It's not like we did anything. This  
whole thing is stupid politics!

Greg doesn't speak.

NICK (CONT'D)  
Greg?

GREG  
(emotionless)  
What?

NICK  
Are you all right?

Greg doesn't answer.

NICK (CONT'D)  
Are you upset she's dead?

GREG  
Leave me alone.

NICK  
Why are you upset?

GREG  
Leave me alone.

NICK  
Why would you be upset about her  
being dead? Do you remember what  
she did to you and Catherine? You  
were in ICU for two weeks because  
of her!

GREG  
(angry)  
Shut up.

NICK  
Man, you got way too soft'a heart  
sometimes. She doesn't deserve  
sympathy, even dead.

GREG  
(grits his teeth)  
Shut up, Nick.

NICK  
She got an EMT killed when she sent  
me and him and his partner to a  
shootout. Two houses were lost  
because the firefighters--

GREG  
SHUT UP, NICK!

Greg turns a dark glare on him

GREG (CONT'D)  
Stop. Talking. She is dead. You're  
happy. Now shut the fuck up!

Nick doesn't argue. Greg looks away, his anger fading back into melancholy. Nick looks up when Henry walks up to Greg, handing him Catherine's note.

HENRY  
I'm supposed to wait for an answer.

Greg reads it before crushing the note in his hand.

GREG  
Tell Ray yes, a forty-four, and  
several times since I asked her.

HENRY  
Okay. Sorry, Greg.

Greg nods. Henry leaves. Nick watches Greg, who ignores him.

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

EXT. SUNSET VIEW APARTMENTS - NIGHT

Brass crosses the parking lot to an officer standing with Mr. And **MRS. JACOBS**. They're young and look shell-shocked.

BRASS  
I was told one of you saw something?

Brass takes a notepad and pen from his jacket pocket.

MRS. JACOBS  
There was an ambulance earlier tonight.

Brass stares at her as if she's joking but she's quite serious.

BRASS  
You are aware that seeing an  
ambulance, even in an apartment  
complex, isn't that unusual?

MRS. JACOBS  
This was. There weren't any lights  
and I saw the paramedic leave that  
woman's apartment.

She points at Capri's apartment.

BRASS  
What time was this?

MRS. JACOBS  
Around ten.

Brass scribbles notes.

BRASS  
What color was it?

MRS. JACOBS  
Blue and white.

BRASS  
Did you get the name of the company?

She shakes her head.

BRASS (CONT'D)  
How about a license plate?

Another head shake. Brass retrieves a business card and hands it to her. She takes it.

BRASS (CONT'D)  
Okay. If you see anything else--

MRS. JACOBS  
You know how they have numbers on  
the side? I guess the number of the  
ambulance, or something.

BRASS  
Yeah?

MRS. JACOBS  
This one had three fourteen, and  
the four was crooked and didn't  
look like the same writing as the  
other numbers.

Brass quickly jots that down.

BRASS  
Thank you. If you recall anything  
else, let me know.

Brass walks away, making a phone call.

BRASS (CONT'D)  
Hey Riley, I talked to the couple.  
Naw. It was nothing. She said she  
saw an ambulance out here, but aside  
from a crooked number I'm not done  
talking to witnesses. I'll let you  
know if anyone else can tell us  
something substantial.

Brass hangs up, walking toward another officer and witness.

**INT. CSI VEHICLE - NIGHT (RE-ENACTMENT)**

**SUPER: November 6, 5:00 AM**

**In the dark, Catherine is huddled on the middle seat, wrapped in a coat and blanket. Greg is curled into the passenger seat. **

**On each exhaled breath they exhale a white puff of steam. Frost has begun to form along the edges of the windows. **

**Catherine adjusts her position. The sound of her coat against the vinyl is loud in the closed vehicle.**

**GREG  
Are you sure we should wait until sunrise?**

**CATHERINE  
Yes.**

**GREG  
Wouldn't it make more sense to  
start back now? While it's cooler?  
It's going to--**

**CATHERINE  
No, Greg, it wouldn't. I don't feel  
like wandering down a road we're not  
even sure is a road with only a flashlight.**

**GREG  
They don't even know where we are.**

**Catherine doesn't respond. Somewhere far off a coyote howls. Greg rests his head against the back of the seat. **

**He's almost asleep when nearby a pack of coyotes erupt with howls and yaps. Greg sits up straight, looking outside. His breath fogs up the window.**

**GREG (CONT'D)  
(scared)  
We should start back now.**

**The coyotes stop, as if his statement made no sense.**

**CATHERINE  
Yes. Let's wander around, in the dead  
of night, with the coyotes, Greg.**

**GREG  
You know it's going to get over one  
hundred today.**

**The coyotes suddenly burst into their eerie chorus. Greg lunges across the vehicle and fumbles for the switch to lock all doors. The sound of the locks engaging is loud, despite the nearby canine choir. Catherine now joins the chorus with her laughter.**

**GREG (CONT'D)  
What?**

**CATHERINE  
Good thinking, Greg. Lock all the  
doors. There might be a mutant  
coyotes with opposable thumbs out  
there. It might open the door for  
the other coyotes and **_**get us**_**!**

**Greg shoots her a glare, but she can't see it in the dark.**

INT. INTERVIEW ROOM A - NIGHT

Jackie and Catherine sit across from each other. On the table beside Jackie sits a stack of file folders with the LVPD logo on them. Jackie is reading one. To her left a video camera watches Catherine, an unbiased observer.

Catherine doesn't look uncomfortable about reversed role of suspect/interviewer. Jackie doesn't look up from the folder as she begins the interview.

JACKIE  
Please state your name.

CATHERINE  
CSI Catherine Willows.

Jackie flips to a page in the folder.

JACKIE  
What was your relationship with  
Capri Martinez?

CATHERINE  
There wasn't any.

JACKIE  
Does that mean you didn't know her?

CATHERINE  
No. I didn't have a relationship with her.

JACKIE  
What were your feelings toward her?

Jackie flips to another page.

CATHERINE  
I didn't want her in a position  
where lives were at risk.

JACKIE  
Did you want her dead?

CATHERINE  
No. I just wanted her gone, I  
wanted my fellow CSI, and myself,  
to be safe, and I wanted EMS to be  
able to find locations of emergencies.  
Capri was keeping that from happening.

JACKIE  
November of last year, you had a  
confrontation with Capri. Let's  
talk about that.

**INT. DISPATCH CENTER RECEPTION - DAY (RE-ENACTMENT)**

**SUPER: November 8, 10:45 AM**

**Catherine and Nick rush through the door and stop short. Greg sits in a chair. All of his exposed skin is a sickly yellow or red or black, and in some spots blistered. **

**Soot and dirt covers his clothes. EMT Casey kneels next to him, working carefully to push an I.V. needle into his arm. Standing at the call center door is a second paramedic.**

**CATHERINE (O.S.)  
..AND IF THAT WASN'T ENOUGH, THE  
DAMNED THING STALKED US MOST OF THE **

**FUCKING DAY!**

**NICK  
(to Catherine)  
I got Greg. Go.**

**INT. DISPATCH CENTER - DAY (RE-ENACTMENT)**

**In the center of the room Catherine is confronting ****Capri**** Martinez. The dispatcher has a darkening black eye.**

**Catherine looks just as bad as Greg and is outraged. Two men are holding her back. A man and woman are holding Capri back.**

**CATHERINE  
YOU NEVER CHECKED THE DIRECTIONS!  
YOU'RE JUST COVERING YOUR ASS WITH  
THAT LIE! TO DO IT TO ME IS ONE  
THING, BUT GREG... HE DEFENDED YOUR  
SORRY EXCUSE OF A DISPATCHER ASS  
SINCE YOU STARTED! HE TRUSTED YOU!  
YOU ACT LIKE THE WORLD OWES YOU  
SOMETHING. THE ONLY THING THE WORLD  
OWES YOU IS A MATCHING BLACK EYE!**

**CAPRI  
I am going to sue you for this one!**

**Catherine pulls free, tearing several blisters in the processes. Pain doesn't stop her from grabbing Capri and slamming her against the wall. She pins Capri with her arm against the dispatcher's throat.**

**CATHERINE  
If you breathe even one word to a  
lawyer, I will destroy you. ****This  
was my town before you were even a  
thought, little girl! You push me  
any further, and I will run you out  
of town like the bitch you are. Do  
you **_**feel**_** me?**

**Capri doesn't answer right away. Slowly she nods. Catherine falls back. She turns, staring at Grissom. He puts his arm around her, leading her away.**

**BACK TO SCENE**

Jackie closes the folder.

JACKIE  
I'm curious why you didn't go  
straight to the hospital when you  
reached help that day.

CATHERINE  
I wanted her to see, for once, what  
happened from one of her 'mistakes.'

JACKIE  
What would you have done if she  
hadn't quit that day?

CATHERINE  
Pester her supervisor every day,  
point out every little mistake she

made, until he fired her.

Jackie sits the folder in a box by the table.

JACKIE  
Thank you. I'll call if I have any  
more questions. Have a good night.

CATHERINE  
No questions about where I was when  
Capri was murdered?

JACKIE  
You were at 164 Rose Hip Circle.  
You suggested the death was a  
suicide. The officer on scene tells  
me you decided it rather quickly,  
but held off on your report until  
the M.E. could confirm your findings.  
Good procedure followed. And now  
you're free to return working on  
that case, Mrs. Willows.

Catherine gets up and leaves.

INT. CSI - CORRIDOR - NIGHT

In the hall Nick and Greg are still waiting. She sits down between them but in a chair closer to Greg.

NICK  
How was it?

CATHERINE  
As good as an I.A. interview can be.

The three watch Jackie. She's on her cell phone, talking to someone. Catherine lays her hand on Greg's leg.

CATHERINE (CONT'D)  
(gentle)  
How are you holding up, Greggo?

GREG  
(emotionless)  
Fine.

CATHERINE  
I'll notify her next of kin.  
We'll need to--

GREG  
She doesn't have any family.  
How am I going to tell...

Greg chokes up. Catherine moves her hand to his shoulder, giving it a squeeze.

Nick is starting to realize there's something going on with Greg that he doesn't know about.

CATHERINE  
I'm here if you need to talk. Okay?

Greg nods.

Catherine gets up and leaves. Nick watches Greg, but doesn't speak.

INT. APARTMENT 152 - LIVING ROOM - NIGHT

Catherine is working his way through the room. He stops at the couch. There's a half finished dinner plate and cup of soda. Bride and wedding magazines are spread across the couch.

He notices an open notebook and snaps a picture before picking it up to read it.

It's a list of things to do before the big day. Many of the words have been written correct but backwards. Next to a couple of them, in someone else's handwriting, the words have been corrected.

**LANGSTON'S VIEW**

**Ghostly figures of Capri with her faceless fiancée appear on the couch. ****He's holding her as they plan their big day****. They are in love and happy.**

**BACK TO SCENE**

He sets the notebook down and walks into the kitchen.

INT. APARTMENT 152 - KITCHEN - NIGHT

The supper utensils, pots and pans are in the sink drying rack. On the table there are textbooks and homework for business classes at the community college.

On several essays there are the same mistakes as were on the list, and the hand that corrected the list has corrected all of these mistakes. The mistakes are indicative of a dyslexic individual.

LANGSTON  
She was dyslexic.

Langston continues searching.

INT. APARTMENT 152 - LIVING ROOM - NIGHT

Riley spots a brown hair teetering on the edge of a vent. She carefully collects it with a pair of tweezers and holds it up to the light. Will it lead to a killer?

**EXT. DESERT ROAD - DAY (RE-ENACTMENT)**

**SUPER: November 6**

**Greg and Catherine walk side by side. Catherine has her sidearm. Greg carries an overstuffed backpack. They are hot, tired, and badly sunburned. Greg watches mirages of water come and go ahead of them.**

**CATHERINE  
Greg?**

**He doesn't respond.**

**CATHERINE (CONT'D)  
(distant)  
Greg, look at me. Greg?**

**Greg turns his head. A giant vulture hops along next to him ****watching him with cold eyes****. The desert beyond is formed with odd ****angles in Technicolor**** -- at any moment Beetlejuice ****could**** jump out of the sand riding a giant worm.**

**GREG  
Is your name Frank?**

**The vulture doesn't answer.**

**CATHERINE  
(distant)  
****No, Greg, it's Catherine. Open your  
eyes and look at me.**

**Greg jerks awake.**

**SUPER: 6:00 PM**

**Overhead dusk**** has sent soft pastel colors shooting across the sky. Greg closes his eyes and tries to wet his lips.**

**GREG  
What happened? I remember we were  
walking and then... I got nothing.**

**CATHERINE  
You passed out.**

**GREG  
For how long?**

**CATHERINE  
A couple hours. How are you feeling?**

**GREG  
Hungry, thirsty, would do anything  
for a cold shower. How about you?**

**She smiles.**

**CATHERINE  
Same. Do you think you can walk  
some more? Until it gets dark?**

**Greg nods. She grabs his wrist and helps him to his feet. The two start walking again.**

INT. AUTOPSY A - NIGHT

Riley enters to find Catherine and Doctor **ROBBINS** waiting. Catherine and Robbins' conversation drops when Riley enters, a very suspicious action. She says nothing as she stops next to Catherine.

The body of Capri Martinez lies on the table between them. She has several hickies that would have been covered by clothes.

CATHERINE  
Go ahead.

ROBBINS  
There are four gunshot wounds to  
the chest. That didn't kill her  
though. It slowed her down. I also  
noticed she had a needle mark in  
her arm, the only one on her body.  
I sent blood to Henry and he came  
back fast with the tox results. She  
had a lethal injection of insulin.

RILEY  
Was she diabetic?

ROBBINS  
Not according to her medical records.

RILEY  
How did you get those so fast?

Robbins continues, avoiding the question.

CATHERINE  
What about the ligature marks?

ROBBINS  
They are from the tubing. She asphyxiated  
before she bled out or the insulin  
could kill her. Whoever attacked this  
young woman was very, very angry.

RILEY  
Any sexual trauma?

ROBBINS  
While she did have sex before she  
died, there were no signs of trauma.

RILEY  
She has a lot of hickies. Someone  
liked her.

ROBBINS  
(distant)  
Yes, someone did.

Riley notices Robbins glance at Catherine. The older CSI says nothing.

ROBBINS (CONT'D)  
Unfortunately, I had to send saliva  
and sperm swabs to DNA.

RILEY  
Unfortuantely?

CATHERINE  
Did Bobby give you the ballistics  
report yet? It wasn't a .44 was it?

RILEY  
Why would you ask that?

ROBBINS  
I don't have the ballistics report  
back. I don't know what--

RILEY  
What is going on here? What aren't  
you two telling me? Doc practically  
apologized for sending DNA for analysis.  
You're asking about the caliber of  
the gun, as if you have someone in  
mind. I cannot work this case blindfolded.

CATHERINE  
We can't answer that. I can't risk  
you becoming bias on this case.

RILEY  
You're trying to clear someone of  
this, aren't you?

CATHERINE  
I can't answer that, Riley.

She sighs, but she also understands.

RILEY  
Should I tell you to leave?

CATHERINE  
Probably. Don't overlook anything  
in this case.

He leaves. Riley doesn't speak right away, and neither does Robbins. She looks up at him.

RILEY  
Was there more?

He nods.

RILEY (CONT'D)  
Continue.

FADE OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

**EXT. DESERT ROAD - EVENING (RE-ENACTMENT)**

**SUPER: November 6, 7:00 PM**

**Greg and Catherine walk in silence. Greg looks up and sees a farm far ahead.**

**GREG  
Is that really a farmhouse or a mirage?**

**CATHERINE  
Dunno.**

**The two fall silent again.**

**CATHERINE (CONT'D)  
I'm sorry about threatening to shoot you.**

**Greg laughs.**

**CATHERINE (CONT'D)  
What?**

**GREG  
I guess two days later is better than nothing.**

**Greg stumbles and she catches him. He winces when she touches his skin and pulls away. The two keep walking.**

**GREG (CONT'D)  
I'm so hungry.**

**CATHERINE  
Why? Cuz all you had was a couple  
energy bars and apple juice?**

**GREG  
Yeah.**

**CATHERINE  
Nick is doing the exact same thing.  
So what are you two bet on? All he  
would say is he has to lose ten pounds.**

**Greg grins. He'd blush if he weren't already red.**

**CATHERINE (CONT'D)  
So what's this bet about, Greggo?**

**GREG  
Nothing.**

**CATHERINE  
Come on. What's it about?**

**GREG  
That looks like a farmhouse. Is  
that the last farmhouse we passed?**

**CATHERINE  
Greeeeggggggooooo.**

**He laughs.**

**GREG  
Nick and I know this girl. She said  
she's sleep with whichever of us  
could get into this tangerine Speedo  
she has. It's more like a race than  
a bet. We have until New Years Eve.**

**CATHERINE  
Let me get this straight. You two  
**_**boys**_** are dieting so you can--**

**The farm is closer, and clearly not a mirage.**

**GREG  
That is a farmhouse. The last one  
we passed. How far did we drive  
after we passed it?**

**CATHERINE  
At least an hour.**

**GREG  
I hope they have ice cubes. Lots of them.**

**CATHERINE  
I'd settle for some shade and a phone.**

**Now they can see more details. Dead, half burned trees and the burnt out shell of a house. Head high weeds almost cover farming equipment, but the weeds have shriveled into dry shells without water. **

**At the back, half of the barn stands, and half is burned. The two stop on the road.**

**GREG  
Wanna rest here for the night?  
There's shade at least.**

**Catherine nods. They walk into the weeds toward the barn. At the back, broken bales of hay have been shoved into a loose pile. Some of the hay is singed. **

**The two drop into the hay. Both wince a little when hay pokes to their burnt skin, but they're too exhausted to move. Catherine starts to drift to sleep.**

**GREG (CONT'D)  
(drowsy)  
Catherine?**

**CATHERINE  
Hm?**

**GREG  
When this place was on fire, do you  
think Capri gave the firefighters  
directions? Do you think that's why  
so much is burned?**

**Catherine starts laughing. The longer it lasts, the hard she laughs. Greg smiles, but continues slipping into sleep. Catherine's laughter dies as she drifts to sleep also.**

INT. CSI - LAB - NIGHT

Riley is comparing fingerprints when **HODGES** sidles up to her. He places lab results on the table next to her.

HODGES  
You've got male.

RILEY  
I have mail?

HODGES  
No. Male. You've got male.

RILEY  
I don't understand.

HODGES  
Male. You have... You know what?  
Never mind. The hair is from an  
unidentified male. Does that work  
better for you?

RILEY  
Yes. Anything fascinating about him?

HODGES  
He's brunette, dyed his hair black  
about six months ago, doesn't appear  
to be ingesting any heavy metals or toxins.

RILEY  
Thanks.

She turns back to her computer. Hodges looks up as Wendy runs past the lab.

HODGES  
Must be a fire.

Riley glances up.

RILEY  
Maybe you should go check that.

Hodges doesn't catch her sarcasm.

HODGES  
I guess I should.

He leaves as the computer returns results. 'No Match' flashes on the screen. Riley is frustrated for a few seconds and then starts the search in another database.

**INT. BARN - EARLY DAWN**

**SUPER: November 7, 6:24 AM**

**Out of the stillness of the night, a chorus of yapping, howling coyotes erupts. It yanks Greg out of sleep, but Catherine sleeps through it. She can't, however, sleep through him roughly shaking her.**

**GREG  
Catherine.**

**She stirs.**

**CATHERINE  
(sleepy)  
What?**

**The chorus raises a few octaves as new voices join in. Greg scrambles around for the backpack, pulls it open and yanks out a flashlight.**

**GREG  
CATHERINE!**

**The light comes on, shining in her face as she opens her eyes. She shields her eyes from it.**

**CATHERINE  
What's wrong?**

**GREG  
The coyotes are right outside. What  
do we do?**

**Catherine gets up and walks over to a space in the wall. She draws her sidearm and fires off two rounds. It silences the chorus. She walks back to Greg and pushes the gun into his hands. He takes it, watching her lay back down.**

**CATHERINE  
Wake me when they decide to eat you.**

**Greg makes a face at her. Catherine falls asleep again, only to be woken by Greg shaking her again.**

**CATHERINE (CONT'D)  
Greg, stop!**

**Greg grabs her arm, pulling on it.**

**GREG  
(panicked)  
Catherine, get on your feet.  
Catherine, get up now! NOW!**

**A feline growl makes her sits straight up. **

**She sees a cougar disappear from the light of Greg's flashlight. Catherine fishes out the second flashlight and with shaking hands, shines it in the opposite direction. They hear a noise and both lights go toward it. Another noise, the lights move in unison. **

**Catherine notices the ladder up to the hayloft. It's suffered heavy fire damage and half of it has fallen away.**

**CATHERINE  
Let's go up there.**

**Greg shines his light up at the loft, then on her. **

**GREG  
Are you nuts!? That's a death trap!**

**The cougar growls behind them and they turn to see the cougar lunges out of the darkness. Greg falls back. The cougar disappears into the dark as he hits the floor of the barn. **

**The gun spins out of his hand under the hay pile. Greg lunges up and scrambles up the ladder. Catherine is right behind him. **

**INT. BARN LOFT - EARLY DAWN (RE-ENACTMENT)**

**At the top he turns, shining his light down, and his eyes widen.**

**GREG  
Not a dumb animal! Not a dumb animal!**

**Catherine climbs onto the loft behind him and turns. The cougar is showing its intelligence and climbs the ladder like a tree. **

**Catherine grabs the ends of the ladder and gives it a push, discovering it's been nailed. **

**CATHERINE  
Help me get this free. We have to stop it.**

**Greg grabs the other side and start working it loose.**

**GREG  
I thought they didn't bother people.**

**CATHERINE  
I guess they do.**

**GREG  
I thought they were afraid of people!**

**CATHERINE  
I'm not a cougar expert, Greg! Push!**

**The ladder comes free suddenly and the two almost fall out of the loft.**

**CATHERINE (CONT'D)  
Shake it off. We have to pull the  
ladder up.**

**They rock it back and forth until the cougar jumps off and then quickly pull it up. Greg follows the cougar with his flashlight as it paces and yowls.**

**CATHERINE (CONT'D)  
I'm going to kill Capri.**

**GREG  
Not if I get to her first.**

**INT. BARN LOFT - DAY (RE-ENACTMENT)**

**SUPER: November 7, 2:22 PM**

**Catherine and Greg sit at the edge of the loft, watching the cougar. Where rivers of sweat haven't reached, they're covered in black sweat. Their bare skin is red and blistered.**

**The animal sits below, waiting patiently. They are suffering from the first symptoms of severe hydration: rapid breathing, difficulty staying awake, swaying while sitting.**

**CATHERINE  
(mutter)  
I am going to kill Capri.**

**Greg just blinks.**

**CATHERINE (CONT'D)  
I'm going to rip her hair out by  
the roots and strangle her with it.**

**Greg sways and almost falls over the ledge. He catches himself and pulls back.**

**CATHERINE (CONT'D)  
Knock her ass out...**

**GREG  
Give it a rest.**

**CATHERINE  
You're going to defend her?**

**GREG  
She's not here. You've been going  
on about her for hours. I'm tired  
of listening to it. Stop. Just stop.**

**Catherine doesn't argue. Greg sways again. He lies back on the loft floor, closing his eyes.**

**GREG (CONT'D)  
So tired.**

**Catherine's eyes began to droop. **

**A low creak starts across the floor, followed by pops. The noise grows louder, but the CSI are oblivious to it. Greg opens his eyes in time to watch Catherine disappear from sight as the boards disintegrate under him.**

**CATHERINE  
GREG!**

**She grabs for him too late.**

**INT. BARN - DAY (RE-ENACTMENT)**

**Greg lands hard on a broken beam and knocking the wind out of him. The noise frightens the cougar out of the barn.**

**Greg rolls off the beam, clutching his side. He can't get a full breath of air. **

**Overhead Catherine rattles around. The ladder slides off the edge of the loft and slams against the floor. Catherine scrambles down, jumping off the last few feet. **

**She freezes when she hears the cougar growling outside, looking toward it. She can see it slowly slinking through the weeds toward them.**

**GREG  
Cat... Catherine... I can't... I can't... Get... A breath.**

**Catherine doesn't respond to him. She's focused on the cougar. She drops to her knees and starts sifting through the hay. **

**She finds something solid and pulls it out. It's a piece of charred wood. She throws it at the cougar. It snarls at her. **

**She starts patting again, getting more frantic the closer the creature gets. Her hand finds the gun just as the feline lunges. **

**She spins and shoots, missing. The cougar bends in the air toward Greg. She shoots again. It lands short of Greg and bounds off into the weeds. **

**Catherine runs over to him and pulls him onto his feet, ignoring his cries of pain. The two start toward a hole in the barn wall, disappearing into the weeds.**

INT. CATHERINE'S OFFICE - NIGHT

Catherine is reading a report as **WENDY** makes a sharp turn into her office.

WENDY  
Catherine, I got the results back  
from the sperm and saliva on Capri  
Martinez. I--

CATHERINE  
All evidence has to go through  
Riley first.

WENDY  
I know but Catherine the DNA is--

CATHERINE  
I know whom the DNA belongs to.

Wendy is speechless for a few seconds.

WENDY  
You know? And you're not doing anything?

CATHERINE  
I am doing something. I'm watching  
the case. Please take your results  
to Riley.

WENDY  
Is there a good reason he was with  
her, Catherine?

With a sad smile Catherine nods. Wendy looks at the sheets, then him. She turns and leaves.

INT. INTERVIEW ROOM A - NIGHT

Jackie holds the door open for Nick as he walks in. He sits down in the 'suspects' chair. She joins him, pulls out a folder. Jackie taps the record button on the camera.

JACKIE  
Good morning. Hope I didn't keep  
you waiting too long.

Nick doesn't respond, and she doesn't appear to notice. She sets the folder aside.

JACKIE (CONT'D)  
State your name.

NICK  
CSI Nicolas Stokes.

JACKIE  
What was your relationship with  
Capri Martinez?

NICK  
There wasn't any.

JACKIE  
Did you like her? Dislike her?

NICK  
What you want to know is if I  
wanted her dead, isn't it?

JACKIE  
Did you?

NICK  
No.

JACKIE  
Didn't you push to have her fired,  
Mister Stokes?

NICK  
Yeah. So?

JACKIE  
Well, if she's dead, she certainly  
won't be working as a dispatcher  
again. She was rehired two days ago.

NICK  
I didn't know she was rehired.

JACKIE  
That seems strange. Several EMS and  
CSI did. I'm curious why you didn't.

NICK  
Ma'am, I didn't care about Capri  
and wasn't in the least bit interested  
in keeping tabs on her.

JACKIE  
For the sake of argument, what  
would you have done if you had known?

NICK  
Demanded they fire her again.

JACKIE  
Thank you for your time.

Nick is surprised by the comment.

NICK  
That's it?

JACKIE  
Yes.

Nick gets up and walks to the door. He stops, turning back. She's looking at another folder.

NICK  
Don't you want to know where I was  
when she was murdered?

JACKIE  
You were on route to a call in the  
window Capri was murdered. The length  
of time it takes to get from the  
lab to the crime scene was twenty  
minutes. You made it in eighteen.  
Have a good morning, CSI Stokes.

Nick leaves. In the hall Greg is waiting alone. Nick stops in front of him, but Greg doesn't look up.

NICK  
Good luck.

Nick walks away without waiting for an answer.

INT. CSI - LAB - NIGHT

Under the fume hood is the tubing used to kill Capri. Riley watches the smoke slowly fill the area. She doesn't look up when Henry leans in to watch.

HENRY  
What's this?

RILEY  
Tubing that was used to strangle  
Capri Martinez. What do you have?

Henry hands her a folder without taking his eyes off the item.

HENRY  
Tox from your assault last week.  
That looks like the tubing they use  
for intravenous lines.

Riley sits back, looking him in the eye.

RILEY  
You are a damned genius!

HENRY  
I know I am. What does that have to  
do with anything?

Riley runs out. Henry points at the tubing in the fume hood.

HENRY (CONT'D)  
You left your tubing... Riley?  
Riley? Okay. I'll... Take care of  
it. Okay?

She doesn't turn back. Henry turns to the fume hood, staring at it.

**EXT. DESERT ROAD - NIGHT (RE-ENACTMENT)**

**SUPER: November 7, 10:30 PM**

**On the verge of collapse, suffering third degree sunburns, Catherine and Greg are moving at ****snail's**** pace. Their dehydration has reached such a critical stage that they are no longer sweating.**

**The road they're on has become a well-maintained back road. The sound of an approaching car starts off low and far away. Catherine hears it and stops. She looks back. Nothing there. She looks ahead. **

**Over the hill they're climbing, headlights can be seen growing brighter. Catherine picks up the pace to catch up to Greg. She slides a hand around his arm.**

**CATHERINE  
Greg. There's a car coming.**

**Greg pulls away, keeps walking. Catherine grabs his arm, staying with him.**

**CATHERINE (CONT'D)  
There's a car coming, Greg.**

**Greg stops. She smiles until he suddenly collapses. She falls to her knees beside him, shaking him.**

**CATHERINE (CONT'D)  
Greg. Greg wake up. Greg!**

**She turns, hearing the car getting closer. She turns back to Greg, shaking him. She can't revive him. Catherine stands, facing the direction the car's coming. **

**The direction of the car changes. It's moving away. The headlights fade as it turns.**

**Catherine takes a couple steps toward it. She turns her head when she sees headlights bounce along a road that leads down into a valley.**

**CATHERINE (CONT'D)  
Come back.**

**The car doesn't listen. It stops and the lights go out. Seconds pass and lights come on in a house that had been hidden in the dark.**

**CATHERINE (CONT'D)  
Please come back. Please.**

**When the lights turn off in the house, Catherine sits down next to Greg. She picks up his flashlight and switches them both off. Somewhere in the desert, the coyotes start their chorus.**

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

INT. INTERVIEW ROOM A - NIGHT

Greg has already sat down as Jackie takes her seat. He's quiet, withdrawn, and on the verge of losing it. Jackie picks up a folder and skims it before tapping the record button.

JACKIE  
Please state your name.

GREG  
(shaky)  
CSI Greg Sanders.

JACKIE  
Are you okay, CSI Sanders?

He doesn't answer her, so she moves on.

JACKIE (CONT'D)  
What was your relationship with Capri Martinez?

He starts to cry...

**INT. CATHERINE'S OFFICE - NIGHT (RE-ENACTMENT)**

**Catherine sits in a chair in before Catherine's desk. Catherine is looking over papers.**

**CATHERINE  
I think you should look closer at--**

**Greg bursts into the office, all smiles and giddy.**

**GREG  
(excited)  
Guess what?**

**CATHERINE  
You're forty minutes late and you'd  
better have a really good excuse?**

**GREG  
I have an awesome excuse! The most  
amazing excuse you could imagine!  
The kind that makes you feel like  
you own the world, the moon, hell,  
the universe!**

**Catherine starts laughing through Greg's melodramatic speech. Langston smiles, silently observing. Greg stops talking.**

**CATHERINE  
So? What is it?**

**GREG  
I'm--**

**BACK TO SCENE**

Jackie stares at him, then starts shuffling through her papers.

JACKIE  
You and Capri were engaged? For how long?

Greg wipes his eyes before he answers.

**INT. CATHERINE'S OFFICE - NIGHT (RE-ENACTMENT)**

**Greg falls into the chair next to Langston.**

**GREG  
Oh... About ten hours, maybe, I  
dunno. Time doesn't even seem to  
exist today! Which is why I'm late,  
cuz I'm gonna get married!**

**Greg laughs happily, oblivious to Langston and Catherine's shocked stares.**

**BACK TO SCENE**

Jackie is frozen, staring at him.

JACKIE  
You asked her to marry you  
this morning. Before that you  
two were dating?

Greg nods. She puts the folder back on the pile and moves on.

JACKIE  
I show you clocked in at almost ten  
and your shift started at nine.  
Capri was killed sometime between  
nine and midnight, when her friend  
found her. That would have given  
you time to kill Capri.

Greg looks up at Jackie.

GREG  
Why the hell would I kill the woman  
I love after she said yes to marriage?

JACKIE  
Perhaps you didn't want her being a  
dispatcher. After all, she was--

GREG  
She was going to be dispatch's  
_receptionist_! She wasn't going to  
be a dispatcher! Why can't anyone  
get that straight!?

Jackie doesn't answer. She gives Greg a moment to calm down.

JACKIE  
How long were you two dating?

GREG  
We started dating when I was in the hospital.

JACKIE  
She almost got you killed and you  
started dating her while you were  
in the hospital?

GREG  
Capri came every day for two weeks  
to apologize even though I wouldn't  
talk to her. I forgave her. I'd  
always liked her, just never had the  
nerve to ask her out. Then she  
asked me and I said yes.

JACKIE  
Did you know she turned to  
prostitution after she was fired?

Greg nods.

GREG  
I found out when I showed up at a  
scene and she was a witness. We got  
into a fight about it and I broke  
up with her. I couldn't date  
someone who cheated on me every  
night for money; she said she  
couldn't stay with someone who told  
her how to live her life. We were  
apart for eight months and then  
three weeks ago she asked me out to  
coffee and said she wasn't a prostitute  
any more. She got a job in a fast  
food place and went back to school.  
Last Monday she told me that Gary  
offered her the receptionist job  
and she took it.

JACKIE  
Trace found your hair and semen on  
her. Can you explain that?

**INT. CATHERINE'S OFFICE - NIGHT (RE-ENACTMENT)**

**Catherine clears his throat.**

**CATHERINE  
And this explains your tardiness because...**

**Greg's turn to be surprised.**

**GREG  
My girl just said yes to marrying  
me. Why do you think I was late?**

**Catherine doesn't get it yet.**

**CATHERINE  
I... Give me something here, Greg.**

**GREG  
We were... Busy celebrating. Ya  
know. **_**Celebrating**_**.**

**Catherine just stares.**

**GREG (CONT'D)  
Just engaged. Celebrating in the bedroom. **

**Catherine still doesn't get it.**

**GREG (CONT'D)  
This is like telling my mom I'm not  
a virgin anymore.**

**Catherine laughs, suddenly understanding why he's late.**

**CATHERINE  
OH! I get it! Got it. Okay, I'll  
excuse it this time but let's not  
be late often because you're  
celebrating, okay?**

**GREG  
Got it!**

**Greg hops up, gives them both thumbs up and walks out. In the hall he meets Hodges and gives him a huge hug, then prances away. Hodges is a little freaked, but accepts it.**

**Catherine laughs, shaking her head.**

**BACK TO SCENE**

Jackie smiles. She understands the reason why his DNA was found on Capri.

JACKIE  
Did you Capri was dyslexic?

GREG  
Yes.

JACKIE  
When did you learn about it?

GREG  
When I was in the hospital. She  
said she had tried to hide it to  
keep her job.

JACKIE  
I'm still not clear why you would  
have been so forgiving after her mistake  
nearly killed you and your supervisor.

GREG  
Do you know how many times I've  
heard criminals say 'things just  
got out of hand'? I never believed  
them before. But now... Now I get  
it. Capri grew up on the streets  
and this was her first, honest job.  
She was trying to keep it so she  
could keep her clean, legal, life.  
But things just got out of hand and  
before she knew it, she'd hurt  
Catherine and me. How can you hate  
someone who just didn't want to  
spend another night sleeping on the  
streets? If you can't forgive  
someone like that, what does that  
say about the person you are?

JACKIE  
Thank you for your time, Greg.  
You're free to go.

Greg slowly gets up and leaves.

MATCH CUT:

EXT. OBSERVATION ROOM

Catherine and Nick watch Greg leave.

CATHERINE  
Her pimp was Holes. He's your  
informant, so talk to him. See if  
he's good for this.

Nick slowly looks at Catherine.

NICK  
He never said anything about her to me.

She smiles at him.

CATHERINE  
Would you have listened? I know how  
much you really hated her.

NICK  
She is responsible for four firemen  
and a paramedic being dead. There  
is no way she is as good as he  
believes she is.

CATHERINE  
She did not kill those firemen;  
they knew where they were going.  
Everyone heard that. And the paramedics  
could have ended up in a shootout  
there or somewhere else -- she can't  
be held responsible for fate. I know  
you want to make her out to be evil,  
Nick, but she wasn't. Her only  
fault was she wanted a better life,  
and she wanted it to be with Greg.

Riley suddenly appears in the door, grinning.

RILEY  
I gotta suspect, guys!

The two turn.

NICK  
Who?

Riley holds out her folder to Catherine.

RILEY  
Someone we never would have suspected.  
Which of you wants to do the honors  
and exonerate Greggo?

Catherine takes it and Nick leans over her arm. This is the last person they would have thought as a suspect in Capri's murder.

**EXT. FARM DRIVE - DAY (RE-ENACTMENT)**

**SUPER: November 8, 9:17 AM**

**Catherine holds Greg's wrist as they walk down the drive toward the farmhouse. In the daylight, their severe condition is more obvious. **

**They have sunken eyes, several infected blisters, skin that is bright red, yellow, and black in a few spots. Greg has gone into shock and is responding by instinct.**

**They pass corrals with livestock. From hiding, six dogs appear, barking as the run at the two. Neither CSI respond to the canines. When they don't run or stop, the dogs stop barking, and surround and follow them.**

**At the house, the door opens and a tall, tan FARMER steps onto the porch. He shades his eyes and it takes him a few moments to realize the two are in trouble. **

**FARMER  
Carla, get water!**

**The farmer leaps off the porch, running to the two. The man reaches for Catherine.**

**CATHERINE  
Help Greg.**

**The farmer helps Greg onto the porch and into a chair. He eases him down.**

**EXT. FARMHOUSE PORCH - DAY (RE-ENACTMENT)**

**Catherine starts up the steps. The farmer returns and helps her into the other chair. Out of the door bursts his wife CARLA, carrying two sparkling glasses of water. She hands one to Catherine and then to Greg. **

**Catherine takes a long drink before she notices Greg isn't taking his. She sets her glass down and crouches in front of him, taking the glass. Catherine lifts it to his lips, helping him drink.**

**FARMER  
How long have you two been out here?**

**CATHERINE  
Four days, I think. We need a ride  
back to Las Vegas. I have some  
money. I can--**

**FARMER  
You don't have to pay for it, but  
it looks like you need an ambulance.  
He looks bad.**

**Catherine looks at Greg.**

**CATHERINE  
We do, but there's someone that has  
to know what happened. Then we can go.**

**CARLA  
I'll drive you in. Rest here. I'll  
go get the car cooled off.**

**CATHERINE  
Thank you.**

**FARMER  
Maybe we should just call for that ambulance.**

**CARLA  
No. I can--**

**Catherine looks up. The farmer is staring at her. Carla is staring at her hip. She forgot about her sidearm. Catherine takes her badge from her pocket, holding it out to the man.**

**CATHERINE  
LVPD. We were out there because we  
got lost and our vehicle broke  
down. Please, just give us a ride  
to Las Vegas.**

**The farmer looks the badge over, then hands it back with a nod. Carla runs off to get their vehicle. Catherine turns her attention back to Greg. She smiles up at him.**

**CATHERINE (CONT'D)  
Stay with me, Greggo. We're almost home.**

**He barely nods, making her smile. He isn't as far gone as he looks.**

INT. INTERVIEW ROOM A - NIGHT

EMT Casey Thompson watches Catherine and Brass walk in. Brass leans on the chair at the end of the table. Catherine sits in the chair across from Casey. She opens a file folder she's carrying and sorts through it. Casey nervously glances from detective to CSI.

CASEY  
I was told Greg was engaged to  
Capri. Is that true? Was he?

CATHERINE  
We're not here to talk about Greg,  
Casey. We subpoenaed your fingerprints  
from your Life Shield records and  
they matched the fingerprints found  
on the tubing used to strangle Capri  
Martinez. Can you--

CASEY  
He was engaged to her, wasn't he?

CATHERINE  
We're not talking about--

CASEY  
Why would he get involved with her?  
She led my partner and me right  
into a shootout. My partner died  
because of her. And then there were  
those three firefighters trying to  
find a place in a hail storm, and  
drove right off an unfinished  
overpass because of her directions.  
She nearly got you and Greg killed  
when you two were stranded in the  
desert. Why would he want to marry her?

CATHERINE  
Casey, we also found your thumbprint--

CASEY  
And then dispatch rehires her?  
They were going to put her back on  
the radio! Dispatch didn't figure  
out a year ago that she was a  
danger to everyone?

CATHERINE  
Did you kill her because you  
thought she was a danger?

CASEY  
Why would Greg ever get involved  
with her? She's not even that  
special. She's stupid and--

CATHERINE  
Casey, did you kill Capri?

Casey stares at him.

CASEY  
I was protecting lives.

CATHERINE  
By killing Capri?

CASEY  
She was going to get more people  
killed. People would die because we  
couldn't get to them in time. I  
saved more lives by killing one.

Catherine closes the folder. Brass walks around, taking Casey's arm as he motions an officer in to arrest him.

CATHERINE  
Utilitarianism doesn't clear you of  
murder charges, CASEY  
CASEY  
I saved Greg. Doesn't that count  
for something?

CATHERINE  
You destroyed his dreams, Casey.  
You did not save him.

The door bursts open. Greg comes in shooting. Six bullets pierce Casey's body, throwing him back. When Brass tries to stop him, he pushes him away with superhuman strength. He charges up on Casey, aiming right between his eyes.

CASEY  
I was saving you!

With a hateful sneer, Greg puts a bullet between his eyes.

INT. OBSERVATION ROOM - MOMENTS EARLIER

Greg opens his eyes. He hasn't acted on his vision. Not even love can make him a murderer. Nick waits with him offering silent support.

NICK  
Can I ask... Why Capri?

GREG  
She was beautiful right down to her  
DNA. And fearless. And full of life.  
She fit right in to the crazy Sanders  
family and my family adored her. She  
and my mom spoke almost every day,  
sometimes for hours. She loved Capri  
almost as much as I did. That was why.

Greg turns and sits on the floor. He buries his head in his hands with silent tears.

Nick sits down, shoulder to shoulder.

**INT. APARTMENT 152 - KITCHEN - DAY (RE-ENACTMENT)**

**Capri is making breakfast. Behind her Greg walks into the doorway, leaning against the frame. He has his hands behind his back, watching her with a smile. She turns and lets out a surprised yip, then laughs, putting her hand on her stomach.**

**CAPRI  
You scared me, baby!**

**GREG  
Sorry. I love watching you... Move.**

**Capri walks up to him, sliding her hands around his waist.**

**CAPRI  
Let me show you my moves.**

G**reg pushes his fingers into her hair, kissing her.**

**GREG  
Do we have homework?**

**CAPRI  
No.**

**She pulls back, beaming.**

**CAPRI (CONT'D)  
I aced my reading test. Only five mistakes!**

**He's proud of her and kisses her nose.**

**GREG  
That's my girl. Now about those movesssss...**

**She starts to unfasten his pants. **

**GREG (CONT'D)  
I have a surprise in there.**

**CAPRI  
Oh yeah? Big surprise?**

**GREG  
Little.**

**CAPRI  
**_**He**_** is not...**

**His grin grows when she pulls her hand back holding a ring box. She stares wide-eyed at it. Greg opens it, taking out a simple engagement ring.**

**GREG  
Stop me if the answer's no.**

**Capri watches the ring slide down her finger in silence. Greg starts to get a little worried. Suddenly she pounces on him, knocking him to the floor and kissing him.**

**CAPRI  
YES! YES! YES! I LOVE YOU!**

**GREG  
Forever?**

**CAPRI  
Forever.**

**The two lovers forget about breakfast.**

FADE TO: WHITE

THE END


End file.
